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Alternatif et Indé - Released November 1, 2019 | Sub Pop Records

After a jump to Sub Pop, Omni return with their most precise, most melodic, and best-sounding album yet. Like their first two, Networker was recorded in rural Georgia with Nathaniel Higgins and the sound is very similar. Frankie Broyles' guitar is a slashing, twisted ball of nerves, his drumming is spare and punchy, Philip Frobos' basslines are jabbing and melodic, and his vocals are cheerfully monotone and just barely poke their head out of the mix. What's different this time is everything is a little more jagged, the guitars have more restraint, and there are hints of avant-garde jazz and Television throughout. One of the album's better songs, "Courtesy Call," is a good example of how things have been altered. While at its core, it's still the kind of jumpy post-punk the band mastered earlier, here there are little Verlaine-esque guitar filigrees dotting the arrangement, a couple of sustained chords that hang in the air like they were played on piano, some actual piano providing some drama and a majestic melody that Frobos almost croons. It makes for a small sonic upgrade that moves the band forward a bit without losing any of their strengths along the way. The rest of the album follows that plan perfectly; balancing moments of arty brilliance with hooky, almost pop that really pops thanks to the tighter sound and tenser arrangements. Tracks like "Sincerely Yours" and "Flat Earth" have extremely sticky hooks and choruses that lend themselves to humming long after the album stops spinning, "Skeleton Key" has a little bit of Thin Lizzy-ish strut, and "Moat" has the squirmy twists and turns of an early Feelies classic. Their new approach lends itself well to the quieter songs, too; "Genuine Person" has a gentleness to the sound and melody not heard on an Omni record before, and the title track's keys and soft chord changes show that the band don't have to be nervy and angular to impress. They drop these moments of calm in among the energetic numbers just often enough to give the record some breathing room and make it their most well-rounded listening experience yet. It's also the record where the promise of their first two efforts comes to fruition. Those albums were undeniably good and filled with songs that bobbed and weaved like a champion lightweight boxer; on Networker, they land blows like a middleweight. Punching with more focus and power, by the time the last note fades they emerge from the ring with the post-punk revival title belt slung around their triumphant shoulders. ~ Tim Sendra
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Alternatif et Indé - Released November 1, 2019 | Sub Pop Records

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Alternatif et Indé - Released October 8, 2019 | Sub Pop Records

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Alternatif et Indé - Released September 10, 2019 | Sub Pop Records

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Alternatif et Indé - Released August 13, 2019 | Sub Pop Records

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Electronic/Dance - Released July 15, 2019 | Darknet Recordings

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Alternatif et Indé - Released April 12, 2019 | Sub Pop Records

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Dance - Released January 9, 2019 | Wolf Beats

Punk - New Wave - Released May 31, 2018 | Audiotree Music

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Alternatif et Indé - Released May 4, 2018 | Chunklet Industries

House - Released March 30, 2018 | Baroque Records

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House - Released November 24, 2017 | Ultimate Legends

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Alternatif et Indé - Released September 22, 2017 | Trouble In Mind Records

Georgia trio Omni made a splash with their debut album, Deluxe, making fans of jittery Postcard-meets-post-punk-pop-with-very-sharp-hooks quite happy. Those fans will stay happy when giving the group's second album, Multi-Task, a spin. The group keeps things simple and similar. Using the same producer, Nathaniel Higgins, and the same studio, they vroom through 11 songs in less than half an hour with the same verve and imagination they did on their first record. The production is just a touch cleaner, with Philip Frobos' vocals clearer and more out front, and the rhythm section sounds a tiny bit tighter -- but those are upgrades, not issues. The slashing, spiky web of guitars is still intact, and Frankie Broyles gets the same basic sound while coming off more confident and powerful. Frobos' bass playing is sprightly, and when he and Broyles (doing double duty on drums) lock together it has the power of some of the best tandems in post-punk lore. The guys in Fire Engines or Josef K would be proud. Along with the small upgrades in sound and performance, the songs themselves are easily the match of those on Deluxe. The opening one-two punch of "Southbound Station" and "Equestrian" opens the debate with a resounding statement, the rambling "Choke" just about settles it, and the rest of the album follows up with one hook-filled gem after another. Some have sticky melodies; some have a brilliant confluence of guitar riffing, rhythm section bounce, and vocal swagger; and a few give the basic Omni formula a twist, especially the laid-back disco-funk of "Calling Direct," which sounds like a half-asleep Spoon (in a good way). Throughout the album, Frobos sings with a confidence he only hinted at on Deluxe, and Omni deliver the songs with all the punch of a band twice their size. They beat the tar out of the sophomore slump and come away with another instant classic album. ~ Tim Sendra
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Alternatif et Indé - Released August 21, 2017 | Trouble In Mind Records

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Alternatif et Indé - Released July 6, 2017 | Trouble In Mind Records

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Alternatif et Indé - Released February 14, 2017 | Chunklet Industries

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Alternatif et Indé - Released July 8, 2016 | Trouble In Mind Records

It's no shock that a band made up of former members of Deerhunter and Carnivores would be good, since both those bands are. It's more of a shock just how good Omni is. With ex-Deerhunter guitarist Frankie Broyles and ex-Carnivores bassist/vocalist Philip Frobos writing a batch of songs that combine the best aspects of brainy, hooky bands like Josef K, Television, and Magazine, then recording them with another ex-Carnivore, Billy Mitchell, on drums, Omni's Deluxe is a stunning debut. Recorded in sparkling lo-fi by yet another ex-Carnivore, Nathaniel Higgins, the trio mostly sticks to the basic guitar-bass-drums-vocals setup as the album careens from one angular post-punk-rocker to another. Within the structure, they make sure to vary guitar tones, tempos, and moods just enough to make sure each song stands alone, while still being part of a tightly wound, carefully built 30-minute thrill ride of an album. They have a knack for crashing through the verses in a furious dash, then pulling back in the choruses to allow the sharp hooks to grab on tight. Tracks like "Wire" and "Jungle Jenny" sport snappy singalong choruses, though it might be better to keep quiet and just appreciate Frobos' pitch-perfect post-punk vocal stylings. The guitar intros and riffs throughout the album are all pretty sticky too, with Broyles adding just the right bit of bar-chord chop and arpeggiated jangle to the wiry rhythms. He even gets pretty wild and noisy at times, like on the frenetic "Slam." By the end of the record it's almost impossible not to be impressed at how well it all comes together, and the band's blend of Postcard pop, post-punk herky-jerk, and dork-pop scrappiness never sounds like some kind of cerebral nostalgia trip; it sounds totally fresh and alive. Thank their boundless energy, their hook-generating capabilities, and the tough, clear production. Credit Broyles' mastery with six strings and a reverb pedal or Frobos' snarky, keening vocals. Give Mitchell a hand for pushing the songs forward with just the right balance of muscle and restraint. Most of all, just be glad these guys all quit their musical day jobs and formed Omni, because they made one heck of a good post-punk-pop album together. ~ Tim Sendra
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Alternatif et Indé - Released April 20, 2016 | Trouble In Mind Records

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Electronic/Dance - Released August 2, 2013 | Tasty Bytes Records

Rock - Released June 24, 2011 | MTJ

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